Posted by Aboriginal Art Directory | 14.07.10
On top of the symposium I’m co-convening at the University of Melbourne next week, with speeches by the Minister for the Arts, Peter Garrett, 2010 Archibald and Wynne winner Sam Leach, and other venerable members of the visual art community, I’ve also been writing an article, ‘Joining the dots: analysing the sustainability of the Australian Aboriginal art market’, for publication in UNESCO’s humanities journal, Diogenes. Yes, I know. Enough of the self-serving plugs, already. But at the moment I’m so busy I don’t have anything else for you.
So here’s the pre-publication version of the paper, which looks at the sustainability of the Aboriginal art market using empirical evidence drawn from auction figures. My conclusion is that Aboriginal art, rightly or wrongly, is treated by the market as anthropological, rather than fine, art, and that this has implications for the mid- to long-term sustainability of the market. There are charts, tables and everything.
“This paper has been accepted for publication in Diogenes and the final (edited, revised and typeset) version of this paper will be published in Diogenes Vol/Issue, Month/2010 by SAGE Publications Ltd, All rights reserved. © ICPHS. For more information please visit: www.sagepub.com .”
Joining the dots: analysing the sustainability of the Australian Aboriginal art market
Sotheby’s estimates between fifty and seventy percent of the Aboriginal art it sells at auction is bought by international collectors. How do those buyers view their acquistions? On the Sotheby’s website, you will not find Aboriginal art listed with ‘Australian’ and ‘Contemporary Art’ under the ‘Paintings, Drawings and Sculpture’ department. Rather, it is classified as one of the ‘Ancient and Ethnographic Arts’, alongside ‘Antiquities’ and ‘Pre-Columbian Art’.
This paper will show that the promotion and perception of Aboriginal art as ethnographic rather than contemporary in nature is but one of a number of important aspects of the market that have implications for the industry’s long-term sustainability. This distinction has a significant effect on the way Aboriginal art is distributed, promoted and received by buyers and sellers. Collectors measure the value of ethnographic material by assessing its proximity to a culturally immaculate source. An object has the greatest ethnographic integrity if it emanates from a primitive, isolated community.
Dr. Meaghan Wilson-Anastasios is a researcher and sessional lecturer at the University of Melbourne. Her research interests include art price formation and how and why economic superstars emerge in the auction market. Part of her research was the focus of a Four Corners program, Art for Art’s Sake, aired on ABC television. Meaghan co-authored a paper with Professor Neil de Marchi of Duke University for the Congress of the International Committee of the History of Art: ‘The impact of unscrupulous dealers on sustainability in the Australian Aboriginal desert paintings market’. She is a registered art valuer and has seventeen years’ art-industry experience in public and commercial art institutions.
As a signatory to the Indigenous Art Code we are committed to ethical and transparent business dealings with Indigenous visual artists and abide by the standards set out in the Code.